The “Generators” (2010-) are a loose framework of related topologies created to yield a flowing tapestry of minimalism-inspired music, realized on and with a hybrid digital-analogue modular synthesizer. Largely removing the humanistic, iterative aspects of individual note-choice and musical inflection from the compositional structure in favor of a real-time shaping of tonality, rhythm, and form, the “Generators” are ‘conducted’ moreso than ‘performed’. The extended set of “Romantso Generators” will involve the four-channel spatialization of a eight-voice canon, with also the overall formal arcs ‘programmed’ into the fabric of the patch. The audience should feel free to fully interact with the piece as if it were a physical, sculptural entity, and within the space around it; fixed positioning is less than ideal.

Listening Space is a program of events that attempts to explore and understand sound outside established hierarchies of music production and performance. In the project’s diverse concerts, lectures, and performances, forms of sonic expression take cues from architectural modifications, visual barriers, speaker configurations, natural-sound environments, listening instructions, and spatial choreographies. In this way, the program seeks sonic conditions that go beyond sound’s aural signification, instead illuminating how its physical, social, and political dimensions can be performed and heard. Listening Space is curated by Paolo Thorsen-Nagel, documenta 14’s Sound and Music Advisor. The Athens club and studio complex Romantso serves as the program’s home base, with the project extending to other locations including Megaron, The Athens Concert Hall, the Athens Conservatoire (Odeion), and the Church of Agios Dimitrios Loumbardiaris. All Listening Space events are free of charge.

The American Keith Fullerton Whitman (Massachusetts, 1973), one of the leading figures on the modular synthesizer scene, has released more than twenty albums of electronic music since the nineties (many of them under the pseudonym Hrvatski, the Croatian word for Croats).Playthroughs (Kranky, 2002), one of his most acclaimed records, is a work of subtle sound transformations, a delicate composition of drones created with pre-recorded samples of acoustic and electric guitar, processed with computers using modulators, granular algorithms, delays and other processes. Fifteen years after its release, Keith Fullerton Whitman revives this album in a unique session, amplified in multichannel format.

Quiet City is a series of deep-listening concerts in Vancouver, focused on live performances of experimental, electronic and improvised music in a comfortable and intimate setting. Established in January 2010, we are now in our eighth year of programming.

The thirty-third edition of this series will be featuring performances by:

Keith Fullerton Whitman is a composer & musician currently based in Melbourne, Australia. Beginning in the early 90's while working towards a bachelor's degree in "Music Synthesis" at Boston's Berklee College of Music, Keith began exploring electronic music's many facets, eventually yielding dozens of recordings for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Room40, NNA Tapes, No Fun Productions, Digitalis Limited, Root Strata, and many more. These days his creative energies are largely put into the continued development of a singular take on "live electronic music" incorporating an ever-changing hybrid software & hardware-based system that allows for the desired complexities of sound & vision.

Through more than two decades, Keith Fullerton Whitman has continuously explored and celebrated the technologies and many facets of electronic music, plumming its history and scouting its cutting edges. Assuming the role of a contemporary "Contemporary Classical" composer, Keith has also made the case that this music is also a ‘popular form' by serially choosing to release on labels intent on bringing such niche music to a wider audience. Keith's discography is itself a dizzying catalogue of influence; labels that count his total-art aesthetic as part of their identity include Kranky, Editions Mego, PAN, Room40, No Fun Productions, Rare Youth, Root Strata, Amethyst Sunset, among other good companies.

The past couple of years Keith Fullerton Whitman has focused on realizations of a "Live Electronic Music" that utilizes both software and hardware – improvisation with a laptop and modular rig both on stage. This activity has culminated in a piece – or perhaps a process – called Redactions. Each instance of this work incorporates "thematically and geographically relevant Musique Concrète elements" thus rendering each iteration – as well as the manner in which it is diffused – necessarily site-specific. Sonically, the outcomes can be radically different, or even abruptly shift styles within same performance. Subtle landscapes of magnetic snow, electro-acoustic gurgle and scrape, sustained tone play, or drifting particles of pulse.

Previous performances of Redactions have been staged in Europe, Australia, and the U.S., including many notable venues, including Boston's City Hall. KFW on Redactions: "It's the most complete performance solution I've come up with to date; very much a live performance work and as of yet remains undocumented by a tangible commercial recording… please come hear it live."

This will be Keith's first L.A. appearance in over four years, and also his first since relocating from Boston to Melbourne, Austraila. This Los Angeles debut performance of Redactions will be presented in Quadrophonic Sound.

Drawn to the timbres of the orchestra, Sean McCann has meshed acoustic instrumentation back into the possibilities of new sound fields, painting pastoral landscapes with voicings near and clear. Since 2013's "Music for Private Ensemble" he's drifted away from overtly electronic sonics, creating seamless studio assemblages of imaginary and – possibly impossible – ensembles. In live settings too, classical instruments come into the fold as fodder for the mix. Human voice is never far away, even if phonemes are reconfigured or processed. Indeed, McCann's work – and that of his "Recital Program" imprint – draw inspiration from an array of aesthetics: the "guttural tape work" of Fluxus artists, experimental librettos, certain margins of the New Age, and many an artist who practiced outside of the spotlight.

For this – his first local performance since his most recent release "Music for Public Ensemble" – McCann will convene an ensemble to present a mostly-acoustic chamber-based piece, augmented by live electronics, to be preceded by sound poetry / tape music piece.

Jessika Kenney's vocalizations have traversed traditions and crossed continents. Whether singing amidst gamelan tones, classical Persian music, the heaviest metal, or the noisiest fuzz, Kenney keenly explores the play of frequencies, and considers how song acts as a conduit for words and meaning. Her solo works – as well as projects with her core collaborator Eyvind Kang – offer an audio syncretism that draws from established forms while conjuring new expressions. Her sense of the spectral has been heard in the ensemble of Persian ney master Hossein Omoumi, as well as at the helm of the Austrian Choir on Sunn O)))'s Monoliths and Dimensions. Though her practice includes many a studied approach, she finds a continued freedom in musics of rebellion; her brushes with the Indonesian punk scene resonates.

To wit, for this event. Kenney will perform her new work – "This Is My House" – a gritty live-electronics-affected sung-recitation of The Persian Poems of Kathy Acker. Through time-bending efforts on both the micro and macro levels – 25 years after Kenney's initial obsessive readings of Acker's writing – the fictional process of Acker's character Janey learning Persian and the actual process of Jessika learning the radif collide.

A two night festival in celebration and remembrance of electronic music and design pioneer Don Buchla Saturday, April 22 and Sunday, April 23rd.

We will be releasing tickets next week for the afternoon panel sessions on Saturday, chaired by Geeta Dayal, and including Ramon Sender, Roger Linn, and more. And the afternoon Ensembles on Sunday, with Joel Davel and the Circus of Associates, including Peter Apfelbaum, Silvia Matheus, plus duos, Todd Barton and Bruce Bayard, Mark Vail and David Battino, Stephen Ruppenthal and Brian Belet and others TBA.

In cooperation with Berlin Atonal, MaerzMusik - Festival for Time Issues presents the third issue of “The Long Now” from 25 March starting at 6:29 p.m. to 26 March at midnight at Kraftwerk Berlin.Among this year’s artists are: Alvin Lucier (US), Tim Hecker (CA), Chris Watson (UK), Kara-Lis Coverdale (CA) and Keith Fullerton Whitman (US).

“The Long Now” is the grand closing event of MaerzMusik − Festival for Time Issues 2017. Surrounded by the monumental setting of Kraftwerk Berlin, the project assembles concerts, performances, electronic live-acts, sound and video installations to form a composition in time and space. Embracing musical worlds from early Renaissance polyphony to the musical avant-garde, experimental electronics, Ambient and Noise, this third edition of “The Long Now” allows for sonic and bodily experiences of an exceptional kind.

As a central guest at MaerzMusik 2017, Alvin Lucier – one of the most prominent representatives of the American avant-garde – will present his legendary piece “I am sitting in a room” on 25 March at “The Long Now”. On the same evening, vocal ensemble Graindelavoix from Antwerp will perform “And Underneath The Everlasting Arms”, a piece it just premiered in Vienna that focuses on the phenomenon of sleep and sleeplessness and was created together with light designer Koen Broos. Berlin-based but internationally active ensembleZinc & Copper will play “For Brass and Computer”, a composition by Catherine Christer Hennix. The Swedish-American sound artist and mathematician also performs the revival of her masterpiece “The Electric Harpsichord” from 1976 at an opening concert at MaerzMusik 2017, as well as the special action space Kalam-i-Nur at silent green.

Canadian ambient electronic artist Tim Hecker and fellow compatriot and newcomer Kara-Lis Coverdale have worked together on several of Hecker’s albums – most recently on “Love Streams” in 2016. In their sonic worlds, both draw reference from the so-called “Early Music” of the Renaissance and Baroque. At “The Long Now” they each perform a solo act. At the festival, American-born Keith Fullerton Whitman known for his work with modular synthesis and as a pioneering force in drillcore inflected IDM, has of late turned his attention to musique concrete and the study of Pierre Schaeffer. He prepares a piece for “The Long Now” based on his own processed and layered recordings of the Kraftwerk building and its surrounds. Known for his sound works as well as field recordings, especially for nature film productions (BBC), is Englishman Chris Watson. He was a founding member of two influential experimental music groups, Cabaret Voltaire and The Hafler Trio. The Guardian included his “Weather Report” album from 2003 in their list of “One of the thousand albums you should hear before you die”.

On view throughout the entire duration of “The Long Now” are installations by American ambient avant-garde composerWilliam Basinski, which he created together with video artistJames Elaine.

The programme, which was curated by Berno Odo Polzer, Laurens von Oswald and Harry Glass, will be published successively in the Facebook event and on the Berliner Festspiele’s website.

Keith Fullerton Whitman is a composer & musician currently based in Melbourne, Australia. Beginning in the early 90's while working towards a Bachelor's Degree in "Music Synthesis" Degree at Boston's Berklee College of Music, Keith began exploring electronic music's many facets, eventually yielding dozens of recordings for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.

Dufwa is a collaborative project between Maria W Horn and Mats Erlandsson developed during the summer of 2016 while in residence in Balada, Spain. This field recording-based music moves on a continuum between drone, noise and generative rhythms by means of extensive digital processing and editing.

V-A-C Live is proud to launch its future Moscow home GES-2, with Geometry of Now, an investigation of sound through site-specific interventions in the space of the former GES-2 power station. The project will feature a series of installations reclaiming the raw structures within GES-2, an interdisciplinary lecture and workshop programme developed around topics in sound art studies and performances that reconfigure its architectural space.

“For me the most interesting aspect of the space, an imposingly beautiful pre-Soviet power station, is its temporal physiognomy: a site of discontinuity between deconstruction and reconstruction. The building as active process, as opposed to passive object, challenges our basic assumptions about it being a mere container of ‘space’, as a hypothetically inert pause or primitive lacuna. These are sonically redrawn as intersections between an indefinite number of dynamic contexts; the place where possible histories and futures interrogate one another in a play of reciprocal disturbance.” — Mark Fell

We have entered into a post-instrument era in which music and visual art born of technology produce contemporary, dynamic and convergent new forms. Traditional apparatus and techniques are displaced by computer based processes, virtual instruments, electronic hardware and custom machines, stems, patches, waveforms and midi. This inaugural residency welcomes artists working in rhythmic and experimental electronic music realms, digital visual artists, and those pursuing work that creates synergies between sound, music and art.

This residency provides the context for artists to research, conceive, prototype and present new artistic works, tools, techniques and perspectives for electronic music, sound, and visual creation. Under the artistic direction of Patti Schmidt and Jen Mizuik, and led by faculty Robin Fox and Uwe Schmidt with guest faculty who are specialists in their fields, the program will offer sessions and workshops on modular synthesizers, electronic music software and hardware, visual creation software and methods, artistic process and philosophy, and the nature of live performance in these technologically dominated fields. Together artists, peers, and world-renowned faculty will exchange knowledge, discuss ideas, experiment with processes, create, collaborate, perform, and share artistic experiences.

Artists will have the chance to present their works-in-progress throughout the program. The nature of the practices involved will determine the presentation format and may range from a live performance, an informal presentation, an installation, a talk or workshop, or something else entirely. Artists will receive technical and artistic guidance during the development of their projects and research.

What does the program offer?

Sessions and workshops on related software, equipment, processes, techniques, and project conceptual development. A personal studio space available 24 hours a day is also provided. Production spaces are shared among all participants in the residency. Participants have the freedom to structure their time around the needs of their projects within a supportive community of their peers, and develop their work through interaction with the Artistic Directors, faculty mentors, and guests, and presentation.

In addition, there is an opportunity for one or more projects to be identified for future commissioning support by The Banff Centre and MUTEK, with a public presentation in Banff and at the MUTEK festival in Montreal.

For his first time in Australia in over a decade, Fennesz will be joined by special guest, visualist Lillevan. Also performing a quadrophonic piece is American electronic artist Keith Fullerton Whitman. Curated by Lawrence English/Room40.

The eagerly-anticipated annual stellar convergence EVERYBODY TALKS ABOUT THE WEATHER has been forecast for Friday the 18th of December this year, when three of Melbourne's finest and fiercest frequential experimentalists fortuitously find themselves in the same city simultaneously - serendipitously so with a special guest international audial atmosphericist/modular synthesist. With the extreme amplification intensification afforded by the new location at Max Watt's lovers of the loud and immersively transcendent are certain to be bathed in sonic bliss and offered experiences far beyond the expressive potential, and frequential range, of remorsefully watching the bootleg videos on YouTube later.

Robin Fox's stunningly sublime synaesthetic laser performances have set the bar for universally spellbinding happenings dazzlingly high, and the expansion of his signature green to red green and blue a year ago saw a warehouse full of humans near-frozen with awe then filled with childlike splendour as they reached up through his luminescent architectures. Domestic performances are rare so, if you've not been saturated in one of Fox's deliciously dense digital sound-and-light extravaganzas then carpe lucem!

Keith Fullerton Whitman, one of the legends of modern synthesis with recent releases on Editions Mego, Pan and Kranky amongst dozens of others, will work his modular magic sculpting voltage like an audio alchemist. He's played most of the main stages at festivals worldwide and his set is a must see for anyone interested in... well... music. Dedicated to the live performance of electronic sound for nearly two decades now he truly is a master. No presets here folks. Needs to be heard to be believed.

Cacophonous guitar dissident Marco Fusinato was last observed casting Spectral Arrows at the Venice Biennale three months ago, carving a monolithic resonant sculpture from the efforts of shredding speaker cones for eight hours straight. He will undoubtedly attempt to subject his six strings, circuitry and speakers to just as much suffering in less than one tenth the time - as such, simultaneous excitement and trepidation are advised.

And one of Australia's pre-eminent avant exports and renowned abstract etherealist Oren Ambarchi commemorates a year that saw him dropping his euphoric bass bombs over 150 times abroad with an all-too-scarce hometown ritual, to fill us all in on his latest methods for mangling the guitar into exquisite textural coagulations. 2015 saw Ambarchi release collaborations with the likes of Keiji Haino, Jim O'Rourke and the Adelaide Symphony Orchestra among his usual bounteous bevy of solo activity, so presents the final of four fantastic reasons to fill your penultimate friday for 2015 with mellifluously metamorphic music!

"'Epithets' was created specifically for the Morning Line. It is based around a generative, self-automating Hybrid Analogue-Digital Modular Synthesizer patch that applies principles of Werner Heisenberg's research on "Turbulent Flows" into a series of sub-dividable motor-rhythm arcs that freely wander across the internal soundfields of the sculpture. While structurally similar to early Minimalism, the piece incorporates gradual, almost subliminal shifts between modal & nonlinear tonalities that only become apparent over the piece's complete duration."

Keith Fullerton Whitman is a musician based in Cambridge, MA, USA. His work often explores the grey areas between Composition, Improvisation, and Algorithmic, Generative, and rule-based Systems music, with an emphasis on site-specific realizations that blur the boundaries between what is - or isn't - "Real-Time." In addition to issuing dozens of commercially-available recordings for Kranky, Planet µ, Editions Mego, & PAN, he has performed over 500 unique realizations of his work across celebrated European festival stages and, more recently, architecturally significant spaces such as Boston City Hall and Harvard's Carpenter Center for the Visual Arts. A trilogy of frameworks for elaborate hardware-based modular systems - starting with "Generators," then continuing with "Occlusions" - has recently been completed with the debut performances of "Redactions" this summer.

At the beginning of the New Art Season 2013/2014, during a formel ceremony on September 15, 2013, the Thyssen-Bornemisza Art Contemporary Foundation (TBA21) will be permanently handing over the Sound Pavilion "The Morning Line" to the ZKM. Following locations such as Seville and Istanbul, the Sound Pavilion was until recently located on Schwarzenbergplatz in Vienna and since August it is accessible on the ZKM_Forecourt.

The Sound Pavilion consists of 46 loudspeakers and 12 subwoofers which are guided by a central control unit. "The Morning Line" by artist Matthew Ritchie, the architects ArandaLasch and Arup AGU is thus especially suited for live, open-air performances. From mid-September, primarily contemporary electro-acoustic compositions by international artists will be audible and experienceable over the ZKM_Forecourt.

As an oversized sound body accessible to the visitors "The Morning Line" represents very new kinds of components in the ZKM’s interactive concept: The installation not only responds to the musician’s instructions; by means of a software extremely sensitive to changes to the flow of visitors are also registered, which, in turn, impact upon the form of sound. This unique, interactive sound system was designed by Tony Myatt, and the Music Research Centre of York University.

Under the direction of Peter Weibel, Chairman of the ZKM, additional interdisciplinary sound experiments and collaborative projects between the ZKM and Thyssen-Bornemisza Art Contemporary are being planned:

"The future of 'The Morning Line' not only lies in its permanent construction in public space, but in ongoing sonic use as a site for advanced compositions." (Francesca von Habsburg, Chairwoman of the TBA21)

Operation Times of the InstallationCompositions can be heard from Monday−Sunday from 10 a.m.−10 p.m.!

1+2+3 is an afternoon-long event featuring six New York City-based improvising musicians in a choreography of solo, duo, and trio performances.

Real time is cheap, and improvisers are by nature expansive. Five decades after the changes wrought by the emergence of free jazz and improvised musics, improvisation is crucial to the working methodology of all stripes of musicians prone to experiment. It’s part of the day-to-day operation of saying yes to playing with folks you respect and admire and definitely wouldn’t mind spending time with, and as a practice it has never seemed less ideological.

Mark Beasley, Guest Curator MoMA PS1, will provide the musicians with an itinerary of performing combinations at the start of the event.

Join us for Not To Be Played (October 8-25, 2015), an installation co-curated by Damon Krukowski & the Poetry Room curatorial staff that airs the materials and sounds of an audio recording Ezra Pound made for the Harvard Vocarium in May 1939 of a “bloody sestina” that the poet believed could (and perhaps did) incite violence. Cut to acetate disc, transferred to magnetic tape in the 1950s, duplicated on cassette in the 1970s by WPR Curator Stratis Haviaras, but otherwise not widely available until the 2006 digitization of the reels by WPR Curator Don Share, the history of this recording is fascinating in its own right but also raises questions of our shift from an analog to digital culture, with its changing ideas of public/private, permanence/ephemerality, and what it means to use one's voice.

On October 23, Keith Fullerton Whitman will perform the recent optical scans of one of Pound’s 1939 lacquer discs. This exhibit marks the first event in a new partnership between the Carpenter Center for the Visual Arts and the Woodberry Poetry Room called "The Woodberry Sessions." All attendees will receive a free 45-rpm vinyl pressing of Pound's "Sestina: Altaforte." Come one, come all.

Special thanks to New Directions Publishing Co. for their invaluable assistance and generosity.

Level 3, Sert GalleryCarpenter Center for the Visual ArtsFree and open to the public.

with introductory remarks by architect Chris Grimley, author of Heroic: Concrete Architecture and the New Boston (Monacelli Press)

Boston City HallMezzanine Level (enter through City Hall Plaza)One City Hall Plaza Boston, MADoors: 6:30 pm | Event begins: 7:00 pmFREE and open to the public, but an RSVP is requested

About Redactions

Electronic musician and composer Keith Fullerton Whitman performs a new work for modular synthesizer within the enormous interior mezzanine of Boston City Hall. Taking his cues from the raw concrete forms and cavernous space of this icon of so-called Brutalist architecture, Keith will use the room's unusual and complex acoustics to shape and diffuse the piece.

The Festival de Lanaudière is proud to be associated with AKOUSMA in presenting AKOUSMA@LANAUDIÈRE 2015 at the Musée d’art de Joliette.

Through its exploration of the richly diverse forms of electroacoustic music and its brilliantly creative minds, AKOUSMA@ LANAUDIÈRE 2015 presents an entertaining show to delight the eyes and ears. On the program are works by Louis DUFORT and Simon CHIOINI, plus performances by Myriam BLEAU, whose work, done on original musical installations and interfaces, combines elements of hip-hop, techno, and pop; Jean-François LAPORTE, an intuitive creator who has been making musical instruments of non-conventional sonority for the past several years; and American composer Keith FULLERTON WHITMAN, whose visual sound world abounds in richly complex images originating in a synthesized system from his module.

Here is an invitation to lose yourself on unexplored paths, to discover new and strange sonic landscapes that hover between the magic of dreams and the realism of daily life, between the noise of the city and the song of the sirens, between all that pulses between heaven and earth.

Whitman's extensive knowledge of historical and contemporary avant-praxis is only topped by his uncanny knack of making what has gone before him truly his own by executing both simple and complex ideas with ambition, precision and fearless adventure from the early breakcore under the Hrvatski moniker to the guitar/computer constructs of his 'playthroughs' system to his unrivalled command of the various hybrid analog/digital modular synth topologies that make up his 'live electronic music' setup.

KEITH FULLERTON WHITMAN

Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990's while working on a "Music Synthesis" Degree at Boston's Berklee College of Music, Keith began exploring electronic music's many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.

These days his creative energies are largely put into the continued development of a truly "Live Electronic Music," incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled "Generators" & "Occlusions," it's largely intended for the stage.

BÉRANGÈRE MAXIMIN

Bérangère Maximin’s music engages the listener in considerations of space and textures. Working out of her personal studio in Paris, she has gradually developed a hyper­personal style, creating sensual, hypnotic, sultry pieces with immediate impact. The electroacoustic composer's repertoire is marked by encounters that have inspired her writing in various degrees. She studied under the musique concrète composer Denis Dufour (a member of the famous GRM and a pupil of Pierre Schaeffer) and then came to the attention of John Zorn who released her debut album, Tant Que Les Heures Passent on Tzadik (2008). Taking inspiration from the New York improv scene and her European tour in solo and in duo with the likes of Fred Frith, Fennesz or Rhys Chatham, her work then developed towards live practice, her playing with laptops and midi controllers delivering what she likes to call her digital chimeras. This work led her to compose No One Is An Island (Sub Rosa, 2012), the second and only collaborative album so far, and the confirmation of the respect Bérangère had started to get from established artists. The minimal series Infinitesimal (Sub Rosa, 2013) describes a slow transformation, a deep introspection far removed from the convention of the genre, very special imaginary areas where only matters the physicality of the moment. Dangerous Orbits out since May 2015 is her first album for Crammed Discs' Made To Measure series.

“A menacing silvery growl runs through this record, where dysfunctional spaceships meet the memories of Solaris... a muffled dubby pulse ungrounds and untethers... Maximin's cinematic soundworks are discomforting reminders that the universe does not at all belong to us” –­ The WIRE, May 2015.

The festival »sonic experiments« is dedicated to current developments in experimental electronic music. The program presents young, headstrong, international sound artists and musicians, whose spectrum ranges from hardware-based experiments in the field of noise and industrial through to convoluted techno sounds in the club context.

Slovakian sound artist and musician Jonáš Gruska developed his own electronic musical instruments and software for his site-specific sound installations and audiovisual works. Influenced by experimentation with modular synthesizers, he is also interested in obscure instruments such as the »Junost«, a rare Soviet keytar. He founded the label LOM in 2009 by way of which he aims to generate greater interest in Central European experimental art and music. In his concert at the ZKM, he will play various acoustic instruments, DIY electronics and modular synthesizer.

In the mid-1990s Keith Fullerton Whitman was among the most active and noted sound artists and musicians in the field of experimental electronic music. He released diverse albums on labels such as Kranky, Editions Mego or Room40, and has worked together with numerous artists such as Oren Ambarchi, Mark Fell, Eli Keszler, Matmos, Terry Riley and Ben Vida. Furthermore, he composes for contemporary dance and interprets compositions by Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. In 2011 he worked as artist in residence at the INA-GRM Studios in Paris. His objective was to realize an 80-channel composition with early electronic musical instruments. At the ZKM_Soundome he will be performing a live set through the multi-channel loudspeaker system.

Laurel Halo is a musician and producer of electronic music, influenced by Detroit techno, jazz and psychedelia. Compressed and energetic, her live sets oscillate from dark rawness and chaotic samples through to optimistic warm, hardware-based sounds. After Halo released two early EPs, a further EP entitled Hour Logic was released in 2011, in which she deconstructs usual techno structures and combines them with compressed, emphatic sounds. In her LP Quarantine, released on the Hyperdub label in 2012, she also used recordings of her own voice; the Wire Magazine featured the album as »Album of the Year« by. Halo toured through Europe and the USA With her LP Chain of Rain, released in 2013; at the ZKM she will also be presenting new material.

London-based sound artist and musician Luke Younger, alias Helm, creates compressed landscapes with acoustically and electronically generated sounds. Inspired by Musique concrète, noise and industrial, in collaboration with Steven Warwick, alias Heatstick, he initially published under the name Birds of Delay and, finally, with his solo project Helm, released several cassettes, EPs and LPs, and since 2011, via Bill Kouligas’ label PAN. He performed at international concerts alongside musicians such as William Basinski, Destruction Unit, Cut Hands, Oneohtrix Point Never, Iceage, Lee Gamble and Kevin Drumm.

In the performance »Black Smoking Mirror«, by Gert-Jan Prins and Martijn van Boven, which is part of the trilogy »Noise & Matter«, a screen of inflammable material is engraved until it begins to burn in a sound field of electronically produced noise. What remains are the burned-in traces of the performance on the screen. Gert-Jan Prins focusses on installations, live performances and compositions with the acoustic attributes of electronically produced noise, and investigates their relationship to fine art. He works with artists such as Lee Ranaldo, Pita, Thomas Lehn, Fennesz, Koen Nutters and Thomas Ankersmit. Martijn van Boven is interested in techniques and the possibilities of modern image processing and generation in the field of experimental film. Among his works belong, above all, video installations and live cinema performances. He also works as curator in the field of avant-garde film.

With her solo project »Puce Mary«, Copenhagen-based sound artist Frederikke Hoffmeier researches the fields of industrial, noise and experimental music. She has released a series of recordings with the labels Posh Isolation, iDEAL Recordings and Freak Animal, on which she collaborated with noise artists such as Loke Rahbek, Dan Johansson of Sewer Election and Rodger Stella of Macronympha. Her recordings range from somber sound collages through to straightforward industrial.

DJ Zipo real name is Till Kniola. He plays a mix of noises, drones, noise and pop. He operates the offbeat experimental label. His motto is “it’s hopeless.”

Friday Dunard is a member of the Karlsruhe collective nil, which has been organizing concerts and club nights inspired by electronic live acts and visuals since 2011. In addition to their own productions and live projects, he works as a DJ, shifting in his sets from Kraut to Techno, from Wave to Trance; he likes to surprise, and always with one foot on the dance floor.

The festival takes place on July 3 and 4, 2015. The concerts each begin at 9 pm.

KFW will be "performing during sunset, after a long music day from ambient in the morning to world experimental in the afternoon, and just before the night starts with glitches by robert lippok and then the aquaplano dancefloor session"